Stigma is a process by which the reaction of others spoils normal identity.
And to the degree that the individual maintains a show before others that he himself does not believe, he can come to experience a special kind of alienation from self and a special kind of wariness of others.
So I ask that these papers be taken for what they merely are: exercises, trials, tryouts, a means of displaying possibilities, not establishing fact.
Approved attributes and their relation to face make every man his own jailer; this is a fundamental social constraint even though each man may like his cell.
Any group of persons – prisoners, primitives, pilots, or patients – develop a life of their own that becomes meaningful, reasonable and normal once you get close to it.
The world, in truth, is a wedding.
Man is not like other animals in the ways that are really significant: Animals have instincts, we have taxes.
There seems to be no agent more effective than another person in bringing a world for oneself alive, or, by a glance, a gesture, or a remark, shriveling up the reality in which one is lodged.
We are all just actors trying to control and manage our public image; we act based on how others might see us.
Gender, not religion, is the opiate of the masses.
And I always feel this with straight people – that whenever they’re being nice to me, pleasant to me, all the time really, underneath they’re only assessing me as a criminal and nothing else. It’s too late for me to be any different now to what I am, but I still feel this keenly, that that’s their only approach, and they’re quite incapable of accepting me as anything else.27.
The act of staring is a thing which one does not ordinarily do to another human being; it seems to put the object stared at in a class apart. One does not talk to a monkey in a zoo, or to a freak in a sideshow – one only stares.
The self, then, as a performed character, is not an organic thing that has a specific location, whose fundamental fate is to be born, to mature, and to die; it is a dramatic effect arising diffusely from a scene that is presented, and the characteristic issue, the crucial concern, is whether it will be credited or discredited.
By definition, of course, we believe the person with a stigma is not quite human. On this assumption we exercise varieties of discrimination, through which we effectively, if often unthinkingly, reduce his life chances. We construct a stigma-theory, an ideology to explain his inferiority and account for the danger he represents, sometimes rationalizing an animosity based on other differences, such as those of social class.
Morning and lunchtime are times when anyone can appear alone almost anywhere without this giving evidence of how the person is faring in the social world; dinner and other evening activities, however, provide unfavorable information about unaccompanied participants, especially damaging in the case of female participants.
The more there is about the individual that deviates in an undesirable direction from what might have been expected to be true of him, the more he is obliged to volunteer information about himself, even though the cost to him of candor may have increased proportionally.
We have then, a basic social coin. With awe on one side and shame on the other. The audience senses secret mysteries and powers behind the performance, and the performer senses that his chief secrets are petty ones. As countless folktales and initiation rites show, often the real secret behind the mystery is that there really is no mystery; the real problem is to prevent the audience from learning this too.
For years the scar, harelip or misshapen nose has been looked on as a handicap, and its importance in the social and emotional adjustment is unconsciously all embracing. It is the “hook” on which the patient has hung all inadequacies, all dissatisfactions, all procrastinations and all unpleasant duties of social life, and he has come to depend on it not only as a reasonable escape from competition but as a protection from social responsibility.
Although the pictures shown here cannot be taken as representative of gender behavior in real life... one can probably make a significant negative statement about them, namely, that as pictures they are not perceived as peculiar and unnatural.
Whether an honest performer wishes to convey the truth or whether a dishonest performer wishes to convey a falsehood, both must take care to enliven their performances with appropriate expressions, exclude from their performances expressions that might discredit the impression being fostered, and take care lest the audience impute unintended meanings.